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Journal articles on the topic 'Religious art'
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1
Gorringe, Tim. "Rembrandt's Religious Art." Theology 98, no. 781 (January 1995): 15–19. http://dx.doi.org/10.1177/0040571x9509800104.
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Wang, Xiaoyong. "Between the Religious Act and Art Commodity." Re:Locations - Journal of the Asia-Pacific World 2, no. 1 (May 15, 2019): 1–22. http://dx.doi.org/10.33137/relocations.v2i1.31674.
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Rebgong, located in Huangnan Tibetan Autonomous Prefecture in Qinghai, China, has become one of the most productive areas of Tibetan Thangka painting since the 1980s. Why has Rebgong, a place outside the Tibet Autonomous Region (TAR), become the stronghold of Thangka commercialization? How have Thangka Buddhist painters reacted to the commercialization of their work? I chose to focus on the changes in the past decades in the transmission and commercialization models of Rebgong Thangka. Based on my analysis of both Chinese and English textual sources as well as three weeks of fieldwork conducted in Rebgong, consisting of observation and interviews with key players such as local Thangka masters, students, government officials and dealers, I argue that the models of technique transmission and commercialization have both drastically changed over the past decades, despite the continuation of some features of traditional master-disciple transmission. To justify these changes and compensate for the traditions they betrayed, the key players employed several moral strategies and negotiated with the Buddhist community to maintain a balance between Thangka as a religious object and as a pure commodity. Meanwhile, the sales of Thangka are essentially dependent on its religious meaning. The project attempts to contribute to our understanding of the transformation of religious art alongside modernization, especially the marketization of the economy, and problematize the dichotomy of its religious function and commodity nature. Equally intriguing in this case is how changes in the realm of religious art fundamentally reshaped a specific place and the associated social relations of particular religious and ethnic natures in modern China.
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Schieppati, Sara Valentina, Cinzia Di Dio, and Gabriella Gilli. "Religious and sacred art: Recent psychological perspectives." RICERCHE DI PSICOLOGIA, no. 1 (May 2022): 1–12. http://dx.doi.org/10.3280/rip2022oa13589.
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The psychology of art has had an enormous development since the middle of the last century; however, no much work has been done in association with religious and sacred art. This paper aims to provide a brief history of the use of images in the three great monotheistic religions, i.e., Judaism, Christianity, and Islam.All three religions have been influenced by the commandment (Exodus, 20:4), which prohibits idolatry. Nevertheless, when it comes to the use of images with religious content, the commandment is interpreted differently by the three. If in Judaism and Islam the use of images is not particularly widespread and is bound to precise conditions, in Christianity a strong relationship with the visual arts has developed, at least until the Reformation. After this split, the use of images was only encouraged by the Catholic Church even though, with the Enlightenment, religious and sacred art suffered a decline even in Catholic culture.It was not until the twentieth and twenty-first centuries that the Catholic Church returned to support and encourage art in the religious context. It will then be necessary to distinguish between religious art and sacred art because they serve different functions. Precisely because it is a field in which deepening is possible, it could be very interesting for the psychology of art to study the perception of religious and sacred images, for example investigating constructs associated with the perception of vitality and aesthetic judgment.
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Trott, Elizabeth. "Is Religious and Political Art Really Art?" Études maritainiennes / Maritain Studies 29 (2013): 3–14. http://dx.doi.org/10.5840/maritain2013291.
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Yao, Kaishuo. "Monumentality in Religious Art." Art and Design 4, no. 4 (2021): 33. http://dx.doi.org/10.31058/j.ad.2021.44006.
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Guip, David, Lynda Lowe, Vas Prabhu, and Judith Sloane Blocker. "Instructional Resources: Religious Art." Art Education 40, no. 5 (September 1987): 27. http://dx.doi.org/10.2307/3193013.
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Thiessen, Gesa. "Religious Art is Expressionistic." Irish Theological Quarterly 59, no. 4 (December 1993): 302–11. http://dx.doi.org/10.1177/002114009305900404.
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Coburn, T. B. "The Act and the Art of Being Religious." OAH Magazine of History 6, no. 3 (January 1, 1992): 19–22. http://dx.doi.org/10.1093/maghis/6.3.19.
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Farrer, Claire R., and Nancy J. Parezo. "Navajo Sandpainting: From Religious Act to Commercial Art." Journal of American Folklore 98, no. 388 (April 1985): 218. http://dx.doi.org/10.2307/540448.
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Yang, Shu. "Development of Art and Religion Through Compromise: Medieval Christian Art and Chinese Religious Art." Communications in Humanities Research 29, no. 1 (April 19, 2024): 28–34. http://dx.doi.org/10.54254/2753-7064/29/20230521.
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The significance of this paper lies in the analysis of medieval religious art in China and Europe, which sheds light on how the intersection of religion and art reflects cultural and societal values. To understand the delicate balance between artistic expression and religious influence, this study delves into the development and evolution of religious art during the medieval period. The comprehensive comparative analysis is conducted using an interdisciplinary and cross-cultural approach that integrates perspectives from art history, history, religious studies, and aesthetics. The findings reveal that while initially, art in both regions was predominantly influenced by religious ideals, it gradually asserted its independence and shifted from a God-centered to a human-centered approach. The results of this study imply that despite its oppressive origins, religious art managed to harness religion as a catalyst for innovation and enrichment, showcasing the resilience and adaptive capacities of art.
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F.T., Zhumazhanova, and Koptyleuova D.T. "art continuity in religious works." Journal of Oriental Studies 79, no. 4 (2016): 182–87. http://dx.doi.org/10.26577/jos-2016-4-908.
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Smith, Katherine. "African Religions and Art in the Americas." Nova Religio 16, no. 1 (August 1, 2012): 5–12. http://dx.doi.org/10.1525/nr.2012.16.1.5.
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This print symposium of Nova Religio is devoted to African religions and arts in the Americas, focusing specifically on devotional arts inspired by the Yoruba people of West Africa. The authors presented here privilege an emic approach to the study of art and religion, basing their work on extensive interviews with artists, religious practitioners, and consumers. These articles contribute an understanding of devotional arts that shows Africa, or the idea of Africa, remains a powerful political and aesthetic force in the religious imagination of the Americas.
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Ziolkowski, Eric. "Wach, Religion, and "the Emancipation of Art"." Numen 46, no. 4 (1999): 345–69. http://dx.doi.org/10.1163/1568527991201428.
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AbstractDespite the abundance of lore about Joachim Wach's lifelong passion for literature, music, and other arts, the pertinence of his aesthetic reflections to his formation as historian of religions is often ignored or under-appreciated. Yet his involvement with the Kreis surrounding the poet Stefan George was perhaps one of the chief early factors that led Wach to liken the study of the history of religions to contemplation of literature and the arts. It is even possible that ideas of the literary historian Friedrich Gundolf about the relationship between the artist and the artist's work helped stimulate Wach's early thinking about the relationship between religious experience and the theoretical, practical, and institutional expressions of that experience. Indeed, throughout his own scholarly writings Wach displays an irrepressible tendency toward combining religionswissenschaflich theorizing with aesthetic reflection, and toward encompassing literary, musical, and other artistic examples within the scope of data to be considered by scholars of religion. This article analyzes the development of that tendency in Wach's scholarship, paying special attention finally to his notion of the modern Western "emancipation of art" from religious influence. This notion, while reflecting a general optimism that characterizes his view of the diversifying, developmental course of numerous other religious and cultural phenomena over time, may ultimately be too strong or reductive for describing what has actually occurred over the past several centuries in the relation between artistic and religious phenomena.
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Šerpytytė, Rita. "SEKULIARIZACIJA, MENAS IR RELIGIJA, ARBA – KAS YRA ŠV. SEBASTIJONAS?" Religija ir kultūra 7, no. 1-2 (January 1, 2010): 91–108. http://dx.doi.org/10.15388/relig.2010.1.2762.
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Straipsnis skirtas sekuliarizacijos kaip šiuolaikinio pasaulio iššūkio prasmės aptarimui. Svarstomos skirtingos sekuliarizacijos prasmės sampratos, išryškinant jų ontologinę perspektyvą. Grindžiamas požiūris, kad tik sekuliarizacijos ontologinės prasmės akcentavimas įgalina paaiškinti sekuliarizaciją kaip šiuolaikinio pasaulio iššūkį. Pasiremiant šia perspektyva, analizuojamas ir interpretuojamas religijos ir meno santykis šiuolaikiniame pasaulyje. Straipsnyje taip pat susitelkiama į vieną iš šiuolaikinio meno tendencijų – konceptualizavimo tendenciją. Ne tik interpretuojant atskirus meno kūrinius, bet ir išryškinant skirtingas šiuolaikinio meno startegijas, atskleidžiama „religinio“ meno religinės prasmės „mutacija“. Analizė parodo, jog meno sekuliarizuota prasmė tarpsta „gyvoje“, „aktyvioje“ religinėje prasmėje. Daroma išvada, kad šiuolaikinio religijos ir meno santykio analizė įgalina atskleisti sekuliarizacijos ambivalentiškumą – jos sakraliąją ir profaniškąją prasmes, tam tikrą sekuliarizacijos proceso dialektiką.Pagrindiniai žodžiai: sekuliarizacija, menas, religija, nihilizmas, Ch. Tayloras, Vattimo.SECULARIZATION, ART AND RELIGION OR – WHAT IT IS – SAN SEBASTIAN?Rita Šerpytytė SummaryThe article deals with the meaning of secularization as the challenge for contemporary world and considers the ways that secularization affects religion and art as well as their mutual relationship. Different concepts of the meaning of secularization are discussed and their ontological perspectives are highlighted. The attitude, that it is namely the ontological emphasis of the meaning of secularization that enables us to explain its challenge for contemporary world, is being justified. Based on this perspective, the relationship between religion and art in the contemporary world is analyzed and interpreted. The article also focuses on one of the tendencies of contemporary art, i.e. the tendency of conceptualization. Not only by interpreting certain works of art, but also elucidating different strategies of contemporary art, the “mutation” of the religious sense of “religious” art is disclosed. The analysis shows that the secularized meaning of art flourishes through its “alive” and “active” religious meaning. The conclusion is drawn that the analysis of the contemporary relationship between religion and art enables us to disclose the ambiguity of secularization – its sacral and profane sense, a certain dialectics of the process of secularization.Keywords: secularization, art, religion, nihilism, Ch. Taylor, Vattimo.
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Introvigne, Massimo. "New Religious Movements and the Visual Arts." Nova Religio 19, no. 4 (May 1, 2016): 3–13. http://dx.doi.org/10.1525/nr.2016.19.4.3.
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Contrary to popular conceptions, modern artists are often religious. Some of them are part of mainstream religions including Catholicism, Protestantism, Judaism, and Islam. Others try to establish new religions and forms of spirituality based on art itself. A significant number of artists, while alienated from traditional religions, were either part of, or deeply influenced by, new religious movements and esoteric groups. Scholars have particularly focused on the influence of the Theosophical Society on the visual arts, but other movements have also been significant.
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Leung, Beatrice. "China's Religious Freedom Policy: The Art of Managing Religious Activity." China Quarterly 184 (December 2005): 894–913. http://dx.doi.org/10.1017/s030574100500055x.
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This article examines how the policy of “religious freedom” has been used to enable the CCP to retain institutional and ideological control over the religious sector of Chinese society. In particular, it looks at how the clash between religious and communist ideologies has evolved, first in the Maoist period and then in the context of reform and openness with the attendant growth of materialism and social change since 1978. A softening in the control of religion to encourage national reconstruction and foreign investment led to a proliferation of religious activity that alarmed Party leaders and triggered a tightening of ideological control and important changes in religious policy. The new policy of “accommodation” and emphasis on “legality” became the watchwords of the Jiang Zemin era. With further development they remain important in the new regime of Hu Jintao.
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Joubert, Annekie. "Religious imaginations in embroidered craft art." South African Journal of African Languages 33, no. 1 (March 2013): 11–18. http://dx.doi.org/10.2989/02572117.2013.793934.
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Roberts, Ann, Diane Apostolos-Cappadona, Brigitte Buettner, Jeffrey F. Hamburger, and Jeryldene M. Wood. "Encyclopedia of Women in Religious Art." Art Bulletin 80, no. 1 (March 1998): 172. http://dx.doi.org/10.2307/3051258.
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Harris, Maria. "ART AND RELIGIOUS EDUCATION: A CONVERSATION." Religious Education 83, no. 3 (June 1988): 453–73. http://dx.doi.org/10.1080/0034408880830311.
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Kim, Min-A. "Religious art of Arishima Takeo`s." Korean Journal of Japanese Language and Literature 65 (June 30, 2015): 297. http://dx.doi.org/10.18704/kjjll.2015.06.65.297.
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Zalesch, Saul. "The Religious Art of Benziger Brothers." American Art 13, no. 2 (July 1999): 59–79. http://dx.doi.org/10.1086/424341.
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Golovushkin, Dmitrii Aleksandrovich, and Irina Ravkatovna Gumarova. "Expanding or limiting the boundaries of the “allowable”: to the problem of outlining the concept of “religious art”." Человек и культура, no. 5 (May 2020): 76–88. http://dx.doi.org/10.25136/2409-8744.2020.5.31638.
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Religious art is one of the most complex and controversial phenomena in the history of art. The attempts to conceptualize this phenomenon are relatively recent, and are carried out mostly in the context of the existence of confessional, ecclesiastical/nonecclesiastical, cult/atheistic art. Therefore, religious art within the Russian humanities traditionally receives ambivalent interpretation. In a narrow sense, religious art implies a combination of artworks with dogmatic, doctrinal, and liturgical meaning. In a broad sense, religious art represents a set artworks that reveal religious themes from ideological and figurative perspectives, reflect religious worldview, faith and experience, but do not carry sacred statues, nor intended for reverence, worship, liturgical practices. The author concludes that neither definition describes the distinctness and novelty of the religious art. The appropriate interpretation describes religious art as d both, ecclesiastical/non-ecclesiastical and cult / atheistic art. This leads to a terminological confusion, and doubts the need for introducing the concept of “religious art” and the phenomenon itself. The key towards understanding this phenomenon and a new definition of the concept of “religious art” can be their context – the European and Russian secularization. It is not coincidental that the first was addressed, and the second was deliberately formulated at the turn of the XIX – XX centuries. Religious art mainstreams during the historical periods when the boundaries of secularization/religion become flexible, initiating struggle for them.
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Мельничук, М. С. "РЕЛІГІЄЗНАВЧО-ФІЛОСОФСЬКА ТРАНСКРИПЦІЯ СИМВОЛУ ТА КАНОНУ В КОНТЕКСТІ РЕЛІГІЙНОГО МИСТЕЦТВА." Humanities journal, no. 3 (December 22, 2018): 72–77. http://dx.doi.org/10.32620/gch.2018.3.07.
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The article makes an attempt to reveal the peculiarities of influence of such components of religious art as symbol and canon, in the context of the impact on man as a whole. The researcher is interested in the process of their functioning in religious art, both from the side of religious-philosophical analysis and from the point of view of art studies.The symbol, as an integral part of religion, serving both a liturgical and ritualistic function, is the embodiment of the existential meaning of the divine world, immutable and eternal. The symbols clearly demonstrate the presence in the earthly reality of the very beginning of the transcendent, formulating the original position of the connection of the world sinful and sacred. This is their main purpose. Hence, the saturation of religious-cultural symbols with a variety of historical, social, moral-ethical, aesthetic, modern, mystical-esoteric, and other meanings syncretically link in one indissoluble sense, which is involved in the transcendental mystery of being. Hence, the exceptional generalization of religious symbols, due to its abstract nature, maintains its cultural content within the enormous time and space dimensions of epochs, supranational and transgovernmental communities in world religions. Symbolism in religious art allows us to relate the experiences of millions of people to some kind of integrality, different in their ethnic origins and cultural traditions; to act as a form-forming and system-forming factor of separate cultures and whole civilizations.The Canon as a certain law, which is a typical example for imitation, may be not only religious, but also artistic. The canons of artistic and religious origins are born as an integrity that is difficult to divide, but each of them has its own specifics. The canon is often considered only as a factor limiting the artist, but it also has the other side. Compliance with the canon allowed the artist - even a mediocre one - to reach a high level of artistic creativity. Thus, the average level of mass art production, for example, the ancient Russian icons due to the hard canon is very high. The true artist, working on nuances of artistic form, could show his personality and creative genius.The symbolic and canonical components of religious art were unable to completely determine peculiarity or uniqueness of artistic thinking. Only in certain historical frameworks they were able to organize the stability of artistic integrity at a specific content-formal level. Moreover, the canon emphasized the talent and originality of the artist who created within its framework, as in order to create a significant work of art within the framework of the canon, it is necessary to have a great creative potential, the ability to overcome existing stereotypes. Thus, for example, Andrei Rublev’s works were carried out within the limits of the Orthodox, Christian canons, but at the same time it went beyond its formal boundaries, becoming a peculiar and unique phenomenon of the Eastern Slavic culture. The same were the works of other world artists who represented religious and sacred art of the Western Church - each of their geniuses went beyond the narrow limits of theological prescriptions, which is due to the unsurpassed perfection of their artistic creativity, and as a result, the world’s artistic heritage.
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Tøllefsen, Inga. "Art of Living." International Journal for the Study of New Religions 2, no. 2 (January 31, 2011): 255–79. http://dx.doi.org/10.1558/ijsnr.v2i2.255.
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This article investigates the Art of Living movement both globally and locally, focusing especially on the movement in Norway, and in its founding country India. Art of Living is localized as a New Religious Movement (NRM) within the larger framework of Hinduism and contemporary new religiosity. I trace the movement’s key practices and the courses and initiatives they offer, as well as presenting a short biography of the movement’s founder Sri Sri Ravi Shankar. A selection of the most important legitimization strategies utilized by the Art of Living are discussed, along with an analysis of Ravi Shankar as a religious entrepreneur.
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Florkovskaya, Anna K. "Religious and Ecclesiastical Art of Russia in the 20th—21st Centuries: Posing the Problem of Interaction." Observatory of Culture 20, no. 6 (December 21, 2023): 582–91. http://dx.doi.org/10.25281/2072-3156-2023-20-6-582-591.
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The article is devoted to the cross-cutting consideration of the problem of dialogical interaction between two close phenomena of art related to religious themes: church, liturgical art, which participates in worship, and secular art on religious themes. The stages of their interaction in Russian art of the 20th—21st centuries are considered. The prehistory of this phenomenon dates back to the middle of the 19th century, when the division into religious and church art already existed in fact, but was realised only in the early 20th century in connection with the work of Mikhail Nesterov. Then, over the course of the century, we observe a series of stages of interaction between religious and church art in their convergences and divergences. The era of the Silver Age, with its heightened sense of the religious beginning in art and life, is replaced by times of state atheism, very heterogeneous, including with regard to religious themes. The time of 1920 —early 1930s is characterized by a relatively free artistic search in the sphere of religious themes. At the beginning of the Stalinist period, religious themes in both church and secular aspects were banned, and at the end of the period there was a revival. During the Thaw years, along with the persecution of the church in unofficial culture, a broad interest in religious themes in secular painting emerged and a gradual, albeit localized, rise in contemporary church art began. The late Soviet period is characterized by the gradual establishment and initial legalization of religious and church art. In the 1990s — 2010s, a broad revival and development of church art began, and the religious theme became the focus of attention, including contemporary contemporary art. Once again, as in the early twentieth century, there are conditions and artistic aspirations for a mutually enriching dialogue between church and religious art. The study of various aspects of this interaction in Russian art is an urgent and multifaceted task.
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LAMPHERE, LOUISE. "Navajo Sandpainting: From Religious Act to Commercial Art. NANCY J. PAREZO." American Ethnologist 12, no. 4 (November 1985): 811–12. http://dx.doi.org/10.1525/ae.1985.12.4.02a00350.
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Apostolos-Cappadona, Diane. "Vatican museums: collection of modern religious art." Material Religion 2, no. 2 (July 2006): 251–53. http://dx.doi.org/10.2752/174322006778053672.
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Tabachnick, Stephen Ely. "The Religious Meaning of Art Spiegelman's Maus." Shofar: An Interdisciplinary Journal of Jewish Studies 22, no. 4 (2004): 1–13. http://dx.doi.org/10.1353/sho.2004.0115.
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Gómez-Ferrer, Guillermo, and Catalina Martín Lloris. "Aesthetics of recognition in contemporary religious art." Church, Communication and Culture 8, no. 2 (July 3, 2023): 227–47. http://dx.doi.org/10.1080/23753234.2023.2248191.
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Godina, Urška. "Tone Kralj’s religious art in the Littoral." Kronika 71, no. 3 (November 26, 2023): 657–78. http://dx.doi.org/10.56420/kronika.71.3.13.
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In the period between the interwar years and several decades after the Second World War, Tone Kralj’s religious artworks greatly transformed the interiors of churches in the Littoral, as it was delineated during the Second World War, including four churches in the Ilirska Bistrica area, specifically, in Prem, Ilirska Bistrica, and Podgraje. While continuously imbuing his works for the said churches with notes of Slovenian vernacular culture, in a few scenes the painter also expressed his direct criticism of the occupier’s violence against the Slovenian people. Kralj’s postwar paintings that addressed the same topic played an important role in preserving the memory of wartime events that unfolded on Slovenian soil.
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Shakhnovich, Marianna M. "Presentation of the cult of Christian saints in anti-religious museum exhibitions during the era of the “Great Turn”." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 37, no. 4 (2021): 706–17. http://dx.doi.org/10.21638/spbu17.2021.410.
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The article describes the goals, principles and different forms of the presentation of the cult of saints in the exhibitions of anti-religious and local history museums in the context of the ideological and cultural tasks of museum construction in the early 1930s. The issue of the presentation of icons and objects of church worship for anti-religious purposes was extremely acute: on the one hand, it was impossible to create an exposition about religion without exhibiting artifacts related to it, on the other, these artifacts were supposed to expose religion. After the campaign to uncover the “relics”, they were often exhibited in museums for anti-religious purposes, but this demonstration most often had the opposite effect. The article analyzes the materials of the discussion on the possibility of using icons and religious objects in anti-religious exhibitions. The author shows that during the period under study, the contradictions between the “anti-religious”, who considered interest in religious art as “grave aestheticism” that strengthened religion, and representatives of the so-called “culturalism” who tried to preserve and exhibit items of religious culture in museums. Particular attention is paid to studying the search for a “third way” in resolving the existing conflict between the classical principles of exhibiting religious art and the new so-called an “anti-religious” approach, which was based on the comparative study of religions and field anthropological research on popular religiosity. The main principles of this “third way”, focused on the preservation and display of items of religious culture, were the rejection of their pietistic interpretation, attention to formal art analysis, as well as Marxist historical, cultural and sociological analysis.
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Walls, A. F. "The Western Discovery of Non-Western Christian Art." Studies in Church History 28 (1992): 571–81. http://dx.doi.org/10.1017/s0424208400012699.
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Christianity is in principle perhaps the most syncretistic of the great religions. Unlike Hinduism, it does not have a unifocal religious culture belonging to a particular soil; nor, like Islam, does it have common sacred language and a recognizable cultural framework across the globe. Historically, Christian expansion has been serial, moving from one heartland to another, fading in one culture as it is implanted in another. Christian expansion involves the serial, generational, and vernacular penetration of different cultures.
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Loos, Helmut. "The Art-Religious ideas of Mahler and Schönberg." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 11–16. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235115.
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There is no doubt in research about the exemplary role Richard Wagner played for Gustav Mahler and Arnold Schönberg. His personality was simply too dominant in musical life and in the broader intellectual history of the time to not have a considerable influence on the two composers in their formative years. The suffering idea was the art-religious rank of music, as it had been widespread since Arthur Schopenhauer, especially in artistic circles. In contrast to Wagner’s decided atheism, which invoked Ludwig Feuerbach, Mahler and Schönberg can be diagnosed with a tendency towards modern irrationalism, asfound at the time inTheosophy and Anthroposophy. Philosophy of life and esotericism formed a favourable breeding ground for the most diverse varieties of art religion, among which emphatic art music was probably the most successful with regard to establishing itself in society. Syncretism was widespread and allowed the inclusion of heterogeneous elements, including, for example, traditional Christian religions.
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Willsky-Ciollo, Lydia. "New Religious Movements in the Long Nineteenth Century." Nova Religio 23, no. 2 (November 1, 2019): 5–17. http://dx.doi.org/10.1525/nr.2019.23.2.5.
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This introduction provides a brief overview of the period known as the “long nineteenth century,” which played host to and helped to shape numerous new religious movements. Highlighting the impact and occasional convergence of various political, social, and religious movements and events in both the United States and globally, this essay seeks to show that the examination of new religious movements in the nineteenth century offers a means of applying scholarship in new religious movements to religions that may be defined as “old,” while simultaneously opening new ways of understanding new religions more broadly. In the process, this overview provides background for the articles included in this special issue of Nova Religio, which explore subjects including religious utopianism; gender, politics, and Pentecostalism; Mormonism and foreign missions; and the relationships of new religious movements to visual art.
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Bondarchuk, Yaroslava. "Antinomic Comprehension of God in Unity of Transcendent and Immanent Principles in the Leading Religious-Philosophical Systems and Art of the Second Half of the І Millennium ВС — the Beginning of a New Era." Culturology Ideas, no. 18 (2'2020) (2020): 132–46. http://dx.doi.org/10.37627/2311-9489-18-2020-2.132-146.
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The article aims to trace the antinomic comprehension of God in unity of spiritual transcendent and material immanent principles in the major religious systems of the second half of the 1st millennium BC — the beginning of a new era and the reflection of this process in the art of that time based on analyzing religious texts, theological and philosophical treatises of the main monotheistic and polytheistic religious worldview ideas and ways of their embodiment. The study showed that the universal idea of religious systems (Taoism, Confucianism, Hinduism, Buddhism, Christianity) of the indicated period is the idea of embodying the highest spiritual Absolut into a natural anthropomorphic form. In most leading religions of the time (except for Judaism) this interpretation of God became the basis for the development of religious art. For the first time, a comparison of concepts of God in the leading religious-philosophical systems of the researched period was made. Such an interpretation of the deity has been shown to be manifested in religious art, which confirms its worldview subordination. It was hypothesized that the antinomic comprehension of God in the unity of transcendent and immanent principles in the leading religious systems formed at the turn of the millennia determined that the dominant zodiacal Pisces constellation, in which the Sun was rising on the day of the spring equinox, was characterized as a sign of the unity of antinomies. This article may be used for further research, for the courses of lectures in the history of world culture.
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Gunada, I. Wayan Agus, I. Wayan Lasmawan, and I. Gusti Putu Suharta. "Aspek Agama, Sosial dan Budaya dalam Kurikulum Pendidikan dan Pembelajaran Seni Budaya Keagamaan Hindu yang Berkearifan Lokal." Cetta: Jurnal Ilmu Pendidikan 6, no. 2 (June 1, 2023): 321–37. http://dx.doi.org/10.37329/cetta.v6i2.2462.
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The purpose of writing the results of this study is to explain the importance of religious and socio-cultural factors in the development of the Hindu religious art and culture education curriculum. Learning art and culture, especially in the Hindu education curriculum, is not only to teach aspects of art but, most importantly, to internalize Hindu values in Hindu art. Thus, religious adaptation strengthens the value of spirituality, and socio-cultural aspects are for material improvement in strengthening art and culture with local wisdom. This study uses a qualitative approach of the type of literature study, with a data collection method, namely literature analysis, that is relevant to the focus of the study. Analysis techniques use continuous models, namely reduction, presentation and verification of data. Based on the results of data analysis, religious factors are essential in providing reinforcements of Hindu values, especially the concept of art in Hinduism, so that art material is related to the ability to be creative and aspects of spirituality. Social and cultural aspects reinforce the development of the art education curriculum, so the existing art aspects focus more on regional art and culture development. Thus, this study can explain the importance of religious, social and cultural aspects adopted in developing the Hindu religious art and culture education curriculum. Moreover, it can use as a reference in relevant studies in the future.
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Gamba, Ezio. ""The source of all religious art"? Messianism and art in Cohen's thought." PARADIGMI, no. 1 (March 2017): 143–55. http://dx.doi.org/10.3280/para2017-001010.
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Thakur, Meenakshi. "RELIGIOUS SYMBOLISM IN THE WORKS OF GRAPHIC ARTIST-NARENDRA SRIVASTAVA." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (May 7, 2022): 187–93. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.81.
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Religious symbolism implies the use of unique symbols by a particular religion, that describe anything pertaining to its culture and psyche, including archetypes, events, natural phenomena or even the art that evolved in that land over a period of time. All religions of the world, irrespective of how ancient or modern they are, use symbols to help create a resonant ethos, which in turn, reflects the moral values, teachings and culture of that society. The concept of religious symbolism is very ancient and may well have had its roots from the start of mankind itself. This can be seen in the series of paintings with the word ‘DHARMA’ painted in 1984, done basically for calendar, depicting six great religions of world Hinduism, Buddhism, Christianity, Islam, Confucianism, and Judaism by renowned graphic designer, eminent artist, and art educationist, Narendra Srivastava. By seeing these drawings it seems that artist must be highly religious which is not true because he had used the word graphically only. He did it for his pleasure of creating something new out of it, which makes his artworks very creative. These paintings do have some religious symbolism in it, which the artist had graphically depicted in a very innovative and impressive style.
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Buta, Mircea Gelu. "Genetic diseases in religious painting." Medicine and Pharmacy Reports 94, no. 3 (July 30, 2021): 382–89. http://dx.doi.org/10.15386/mpr-1996.
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The attention paid to Trisomy 21, a genetic condition described by Langdon Down in 1866, is due to concerns about establishing the age of this pathology during evolution. Due to the synergy between medicine and art history, it is possible to reconstruct the diseases that have characterized the most a certain historical period as well as the perception of the population towards them. Using iconodiagnosis, namely studying works of art through medical imaging, it was found that in Europe, during the Renaissance, Trisomy 21 was represented by Italian and Flemish painters in religiously inspired paintings.
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Lin, Hui-Li, Fang-Suey Lin, Shih-Wei Liu, and Yen-Cheng Liu. "How Religious Destinations Innovate Tourism Models in Religious Personalization: An Evidence from Contemporary Art-Temple Collaboration." Sustainability 14, no. 5 (March 2, 2022): 2889. http://dx.doi.org/10.3390/su14052889.
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In response to the development of religious personalization, the old marketing strategies of most religious destinations have been unable to effectively promote their popularity in modern times. This article deeply explored how to use contemporary art to design religious destinations comprehensively and proposed an effective solution to enhance the popularity of religious destinations in religious tourism. We established an actor network in religious tourism with qualitative and quantitative analyses and took the Buddhism Yuan-Dao Guanyin Temple in Taiwan as a case analysis. We found temples to be the main actors in religious tourism networks and temple organizations to serve as their spokespersons. The successful obligatory point of passage (OPP) in the network was that “the religious performance of Yuan-Dao Guanyin Temple is a contemporary art style, and every subject who enters the temple field can obtain interests”. This is primarily formulated by the interaction between religion and contemporary art. The results show that adopting a contemporary art style in this case can successfully expand the popularity of the religious destination. Through the actor network model proposed in this paper, it can be used as a strategy for other religious destinations to improve religious tourism.
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Marandra, Lihar, and Iskandar Muda. "NILAI RELIGIUS TARI HANGGU PADA MASYARAKAT NIAS DI DESA TORELOTO NIAS UTARA." Gesture : Jurnal Seni Tari 8, no. 1 (January 8, 2019): 40. http://dx.doi.org/10.24114/senitari.v8i1.13192.
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ABSTRACT This study aims to describe the content of religious values found in Hanggu dance in the community of Toreloto village, Lahewa sub-district, North Nias. The theories used in this study include Text theory by Nurwani and Gadamer Hermeneutics theory. This study uses a descriptive qualitative approach. Descriptive aims to describe or describe. Qualitative methods consist of three methods of data collection: 1) observation, 2) interviews, 3) utilization of written documents, and interviews. This research produced knowledge about the existence of Islamic cultural backgrounds that developed in the Nias islands, precisely in Toreloto Village, Lahewa sub-district, North Nias. Hanggu dance is an art that builds Islamic principles or values. This can be seen in the elements that exist in the Hanggu dance, namely, motion (religious value of human-god relations in the motion of greetings and religious values of human-human relations), music (religious values of human-god relations and religious values of human-human relations) , themes (religious values of human-god relations), clothing (religious values of human relations and religious values of human-human relations), property (religious values of human-god relations) and floor patterns (religious values of human relations). The religious value intended in this discussion is a learning process in people's lives where an art can create a harmonious relationship between creatures and the creator and among fellow humans. Keyword : Religious Value, Hanggu Dance, Gadamer Hermeneutics. ABSTRAK Penelitian ini bertujuan untuk mendeskripsikan kandungan nilai religius yang terdapat dalam tari Hanggu pada masyarakat desa Toreloto, kecamatan Lahewa, Nias Utara. Teori-teori yang digunakan dalam penelitian ini meliputi teori Teks oleh Nurwani dan teori Hermeneutika Gadamer. Penelitian ini menggunakan pendekatan kualitatif yang bersifat deskriptif. Deskriptif bertujuan untuk menggambarkan atau menguraikan. Metode kualitatif terdiri dari tiga cara pengumpulan data : 1)observasi, 2)wawancara, 3)pemanfaatan dokumen tertulis, dan hasil wawancara. Penelitian ini menghasilkan ilmu pengetahuan mengenai eksistensi tari berlatar belakang kebudayaan Islam yang berkembang di kepulauan Nias, tepatnnya di Desa Toreloto, kecamatan Lahewa, Nias Utara. Tari Hanggu merupakan kesenian yang membangun prinsip ataupun nilai-nilai Islami. Hal ini terlihat dalam element-element yang ada pada tari Hanggu yaitu, gerak (Nilai religius hubungan manusia-tuhan pada gerak salam dan nilai religius hubungan manusi-manusia), musik (nilai religius hubungan manusia-tuhan dan nilai religius hubungan manusia-manusia), tema (nilai religius hubungan manusia-tuhan), busana (nilai religius hubungan manusi-tuhan dan nilai religius hubungan manusia-manusia), property (nilai religius hubungan manusia-tuhan) dan pola lantai (nilai religius hubungan manusi-tuhan). Nilai religius yang dimaksudkan dalam pembahasan ini adalah suatu proses pembelajaran dalam kehidupan masyarakat dimana suatu kesenian dapat menciptakan hubungan yang harmonis antara makhluk dengan sang pencipta dan antar sesama manusia. Kata kunci : Nilai Religius, Tari Hanggu , Hermeneutika Gadamer.
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Srivastava, Aparna. "Religious nature of Duggar graffiti." International Journal of Research -GRANTHAALAYAH 5, no. 12 (June 29, 2020): 135–40. http://dx.doi.org/10.29121/granthaalayah.v5.i12.2017.482.
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The primary goal of art is the feeling of beauty. The creative expression of aesthetics in the arts has been possible due to the creation of religious spiritual artifacts since the beginning of human civilization. Both religion and art make human life orderly and consistent and presents the great truth of human life. Art and religion have acted as inspiration to each other.The Duggar culture of Jammu has special significance in the context of religious manifestation of art, where art has developed a variety of forms for the manifestation of religious expression, of which mural painting is prominent. In the murals of the Duggar culture, the realization of the religious spirit of the people is visible, whose purpose is to propagate the religion and preserve the past. Dogra artists did not originate the art only because of the sublime beauty there, but the power of their inner inspirations and the divine beliefs conferred within them gave color, form, speech and expression to their thoughts and feelings. Presentation of the expression of the religious instincts of Dogra kings is visible to us in the architectural works of these Dogra kings, such as the frescoes built in the cave, temples and palaces, Dogra kalin has various construction under the concept of Hinduism in these murals.
कला का प्रधान लक्ष्य सौन्दर्य की अनुभूति है। कलाओं में सौन्दर्यानुभूति की सृजनात्मक अभिव्यक्ति की उत्पत्ति मानव सभ्यता के आदि काल से ही धार्मिक आध्यात्मिक कलाकृतियों की रचना के कारण सम्भव हुई है। धर्म एवं कला दोनों ही मानवीय जीवन को व्यवस्थित एवं संगतिपूर्ण बनाते हैं तथा मानवीय जीवन के महान सत्य को प्रस्तुत करती है। कला तथा धर्म ने एक दूसरे के निहितार्थ प्रेरणा का कार्य किया है।कला की धार्मिक अभिप्यक्ति के सन्दर्भ में जम्मू की डुग्गर संस्कृति का विशेष महत्व है जहाँ कला ने धार्मिक अभिव्यक्ति के प्रकटन हेतु विविध स्वरूपों का विकास किया, जिनमें से भित्ति चित्रण प्रमुख है। डुग्गर संस्कृति के भित्ति चित्रों में लोगों की धार्मिक भावना का साकार रूप दृष्टिगोचर होता है, जिसका उदेश्य धर्म का प्रचार एवं अतीत का सरंक्षण करना है। डोगरा कलाकारों ने वहाँ के बाहय सौन्दर्य के वशीभूत होकर ही कला की उद्भावना नहीं की अपितु उसकी अन्तः प्रेरणाओं और उसके भीतर प्रसुप्त दैवीय विश्वासों के बल ने इनके विचारों व भावों को रंग, रूप, वाणी और अभिव्यक्ति प्रदान की है। डोगरा राजाओं की धार्मिक प्रवृत्ति की अभिव्यक्ति का प्रस्तुतीकरण हमें इन डोगरा राजाओं के वास्तु सम्बन्धी कृतियों यथा-गुफा, मन्दिरों एवं महलों में निर्मित भित्तिचित्रों में दृष्टिगोचर होते हैं डोगरा कालीन इन भित्ति चित्रों में हिन्दू धर्म की अवधारणा के अन्तर्गत विभिन्न निर्माण हुआ है।
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ЛЕВИЦЬКА, Мар’яна. "Сучасне сакральне мистецтво: переосмислення традиції. Огляд міжнародної наукової конференції "Współczesna sztuka sakralna. Historia i recepcja tradycji" / "Сучасне сакральне мистецтво. Історії та рецепція традиції"." Studia Ucrainica Varsoviensia, no. 11 (December 4, 2023): 221–25. http://dx.doi.org/10.31338/2299-7237suv.11.15.
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The review highlights the topics and issues of the International scientific conference held on December 6, 2021 in the online format between Warsaw and Lviv. The initiators of the conference were researchers of icon painting and practicing artists, participants of the plein airs in Nowy Sącz (Poland), interested in analytical rethinking of the modern religious art. The speakers focused on the history and prospects of the development of sacred art in Ukraine and Poland at the present stage. The conference demonstrated the importance of studying the historical sources of religious art and rethinking the mediums of ancient sacred art in order to actualize them.
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Arya, Rina. "Neglected Place of Religion in Contemporary Western Art." Fieldwork in Religion 6, no. 1 (January 20, 2012): 27–46. http://dx.doi.org/10.1558/firn.v6i1.27.
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In this article I am going to examine some of the artwork of the American video artist Bill Viola to demonstrate the experiences of the religious to which it can give rise. Viola’s work is a meditation on the central questions and issues in life, which include: why are we here? Where are we going? And what it feels to be alive. His work is intensive and engages the intellectual, emotional and sensory aspects of our being. Contemporary art is a hitherto neglected arena of fieldwork in religious studies. Equally, religion is disregarded in critical debates on contemporary art, and regarded as passé and irrelevant to modern life. The resistance on both sides is to the detriment of the mutual study and development of both religious studies and art. Art has the propensity to convey religious ideas and to evoke sentiments, which can be described as religious. We can look to contemporary art to uncover notions about the religious in twentieth and twenty first century life. My study on Viola will demonstrate the prevalence of religious experiences that his work evokes. In a post-secular Britain, where religion no longer upholds universal significance, contemporary art provides a channel to revive religious understanding vis-à-vis the spiritual, and to make it contemporary and resonant.
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Wall Jaudon, T. "The Compiler's Art: Hannah Adams, the Dictionary of All Religions, and the Religious World." American Literary History 26, no. 1 (January 1, 2014): 28–41. http://dx.doi.org/10.1093/alh/ajt061.
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Zatsepina, Nataly, Yaroslava Bondarchuk, Mariana Studnytska, Ivan Tsykhuliak, and Stepan Pisyo. "The potential of personality culture in religious art." Multidisciplinary Reviews 7 (June 10, 2024): 2024spe031. http://dx.doi.org/10.31893/multirev.2024spe031.
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Religious art, a profound expression of human spirituality and ideals, shapes distinctive aesthetic dimensions through the historical interplay between religion and artists. As one of humanity’s oldest and most pervasive forms of spiritual consciousness and world understanding, religion plays a pivotal role in shaping the spiritual realm of individuals. This article delves into the dual function of religious art: it serves religious worship while preserving aesthetic value. The significance of this issue is underscored by the attention it has garnered from contemporary national and international researchers. Their interest stems from the realization that the formation of worldviews and cultural paradigms, which will guide humanity’s future humanitarian progress, hinges on the interaction between humans and culture. This interaction leads to the emergence of a new concept of humans as the anthropological ideal of the 21st century. The article substantiates this model interpretation of personality in religious art. The potential of personal culture in sacred art is assessed using research findings from philosophy, aesthetics, cultural studies, psychology, and art history. The article highlights the artistic and stylistic features of icons depicting holy warriors from the late 14th and early 15th centuries, noting their psycho-emotional impact on individuals. The study seeks to trace spiritual development across history and culture, underscoring the central role of religious art in molding individuals’ moral values over time. The author demonstrates that the role of religious art in the modern era is on the rise.
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Hogan, Cynthia A. "The Crucifix and the Art Gallery: An Odyssey from Religious Material Culture to Fine Art." Religions 12, no. 7 (July 15, 2021): 537. http://dx.doi.org/10.3390/rel12070537.
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This article focuses the epistemological processes through which a thirteenth-century Spanish Crucifix in less than pristine condition transformed from an obscure rural Catholic devotional into an art commodity and celebrated work of medieval art now exhibited at the Memorial Art Gallery of the University of Rochester (MAG) in Rochester, New York. By situating the Spanish Crucifix within the nascent art historical epistemology and museum movement in the late eighteenth to early twentieth century, this article offers a case study in how religious material culture becomes embedded in capitalistic systems as products or commodities, yet suggests the ways that critical religious studies approaches might enhance our understanding of religious material culture in fine arts museums.
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Krasnova, Anna L. "Historiography of Greek Religious Engravings." Observatory of Culture 19, no. 3 (July 5, 2022): 256–65. http://dx.doi.org/10.25281/2072-3156-2022-19-3-256-265.
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The article presents an overview of the literature on the history of the study of Greek religious engravings. For the first time, there is collected information about the Greek engravings, from the first mentions of them by travelers, to scientific works — monographs, articles, catalogs of collections and exhibitions dedicated to this rare phenomenon of mass religious culture of the 19th century, which has received insufficient attention, especially in Russian literature. This kind of art is quite fully represented in Russian collections, but it remains known only to a narrow circle of specialists. The article presents a systematized review of the world literature, which shows the extent of the study of the topic and opens up space for further research. The article shows the first pre-scientific (empirical) experiments in the description and interpretation of Greek engravings as a special type of church art, mainly Athonite. Further, the author considers the first scientific research and analyzes the monumental works on which all subsequent scientists rely. These are such catalogs as “Paper Icons” by D. Papastratu (in two volumes), “Khilandar Graphics”, “Svyatogorsk Graphics” by D. Davydov. Along with the studies of the main contemporary authors, there are also mentioned studies related to the theme of Greek engraving in an indirect way — those concerning the genesis of the phenomenon of this type of church art. These are studies of proskynetarions, specific engravings and paintings with views of holy places. The article concludes with a historiographic survey of recently published Russian catalogs and studies. This presentation structure corresponds to the task of studying the interest of scientists in this kind of art, identifying scientific problems that attracted researchers in different periods of time.
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Mubaroq, Fendry Abdul, Sapriya Sapriya, and Sri Wahyuni Tanzil. "Preservation of Cultural Values and Religious Character Through the Art of Gembyung Art." JURNAL CIVICUS 21, no. 1 (April 25, 2022): 33–40. http://dx.doi.org/10.17509/civicus.v21i1.45597.
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The cultural diversity that is owned by the Indonesian nation is a beautiful thing to be maintained and preserved so that it has an important role in building good relations in the progress of the nation. As a good citizen, one must maintain and preserve every culture that belongs to the Indonesian state. One of the cultures that Indonesia has is the Gembyung culture, which originates from Sumedang, West Java. In this study, researchers used a qualitative approach with the case study method. The participants in this study were the Sumedang Regency heirloom group with data collection techniques through interviews, observations and literature studies. The data analysis technique used is data reduction, data presentation and conclusions drawn by researchers. The results obtained from this study are: (1) Knowing the art form of gembyung in Sumedang Regency to preserve culture and religious character, (2) Management of Gembyung art in Sumedang Regency in preserving cultural values and religious character, (3) constraints and solutions in managing gembyung art in Sumedang Regency in preserving cultural values and religious character.
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Fitriah, Laila, Evadila Evadila, Idawati Idawati, and Nussy Anggraini. "Implementasi Nilai-Nilai Religius dalam Musik Gambus Melayu Riau." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 4, no. 2 (December 26, 2022): 104–14. http://dx.doi.org/10.24036/musikolastika.v4i2.96.
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The development of science and technological progress as it currently has such a large impact on character values, religious values, social values, customs and value systems that exist in society. This situation has a negative impact on the younger generation due to not being able to respond properly. The application of religious values is the main capital in dealing with the negative impacts of technological progress. Through art education with Gambus art media, religious values can be realized for the younger generation. This study aims to explain the religious values that exist in the Riau Malay Gambus art. This research was conducted in Pekanbaru City, Riau, the research subjects were students of the Sendaratasik Department of the Islamic University of Riau and the object of research was the Riau Malay Gambus art. This type of research is descriptive qualitative research. The data collection method used is by conducting observations, interviews, literature studies and documentation. Data analysis will use descriptive qualitative method obtained from primary and secondary data. The results of this study indicate that in Riau Malay Gambus art there are religious values such as the value of worship, the value of jihad (ruhul jihad), the value of morals and discipline and the value of exemplary. The most important religious value is the value of worship, because in Gambus art there are many lessons and messages that can be learned from the art, because the initial function of Gambus art itself is as a propaganda medium which contains many religious elements and messages for everyday life. day that can be realized in the midst of family and society. By itself the religious values contained in Gambus art can be applied to today's young generation to avoid negative things that will happen.